When I start an accordion book piece I usually gather several pieces of paper with drawings or collages that I have lying around in the studio and start gluing them together, letting chance dictate how the story develops.
After the pages are glued and the long strip is laid out I start looking for associations and intuitively begin filling in the gaps with more drawings, collage and color.
When I was younger, in my 20s, I liked to draw this way. The effect was always compelling and somewhat unpredictable.
I would begin by laying a piece of blank paper on a piece of Plexiglas that is covered in printing ink and draw on the paper with a pencil or the end of a paint brush. The pressure from the pencil would pick up the ink and create a fuzzy etching-like line on the other side of the paper. By adding light pressure from the palm of your hand or finger you can add and modulate areas of tone and shadow.
On Tiger Mountain the rabbits are friendly and watch as the day goes by. Lots of different birds serenade you as you work, creating a joyful environment free from the pressures of city and obligation. Chickens and mules are always nearby to provide entertainment and a bit of levity as well.
My studio is not flashy, the tools are rusty and primitive but that is part of the charm and magic of being here.
DANGER RED HUCKLEBERRIES DO NOT EAT
Asin is a cannibal ogress from the mythology of the Alsea tribe. Like other monstrous ogres of the Northwest Coast, Asin preys on children and is often the subject of “bogeyman” stories told to frighten children into avoiding dangerous behavior. Asin was particularly associated with huckleberry plants, so Alsea people (especially children) did not touch or eat huckleberries. Hearing Asin’s cries was considered an omen of death.
Alsea is on the other side of the mountain where I grew up.
Drawing is a meditation on time and idea – not to be confused with rendering, which is only a small part of the drawing process. This workshop gives you a chance to really sit down, slow down, clear your mind and watch where your pencil takes you.
For example, there is a technique of automatic drawing, used by the surrealists as a way of putting whatever came to mind down on paper. Paul Klee called it “taking a line for a walk.”
Finding the right drawing implement is also important. Some prefer drawing with a pen and ink vs. a pencil or charcoal. Using homemade pens made from twigs or pop cans can bring novelty into play and begin a whole new experience.
And why is it so popular?
The one art expression that we all know and take for granted.
The easiest to make? The easiest to dismiss?
But is it? Collage was introduce to the world of mainstream art in the early 1900s by Picasso of all people and baffled the intelligentsia.
It quickly spread to the surrealist and the dadaist movements and became the signature of low brow and high brow artists alike.
But why? Probably the best answer is the ease in which an idea can be expressed. Slapping down two disparate images on a piece of paper instantly creates tension and dialogue. Add a third picture and the intrigue grows. Add more elements and a story develops.
In this workshop you will learn to create amulets, rings, chains, pendants, even tiaras from unusual and unexpected materials.
Use found materials such as rusted wire, metal, old photos, string, wax, wood, rocks or shells that you collected on the beach, tiny doll parts, or beads you created beforehand, and anything else you have lying around.
What is so appealing about a doll? They are a source of delight to a child but often mysterious, a little ominous and disturbing to an adult.
Long before they were children’s play-toys, small figures were used by adults in various forms of ritual and ceremony.
Made of sticks, wire, metal, string, beads, cloth, wax, found objects and all manner of unusual things, dolls possess a succinct and strange ability to embody powerful energy.